Milling Weather

undefined undefined undefined, 1902 - 1905, 450 x 560 mm

KODE Kunstmuseer og komponisthjem (KODE Art Museums and Composer Homes), Sparebankstiftelsen DnB

According to Astrup, kvennagong was “the name given to the type of autumn weather, needed to ‘make the mill turn’”. A boy and a man carrying a sack of grain are headed towards a little mill to grind the grist into flour. Because of the numerous river rapids in Jølster, most farms had access to such a stream-driven mill. The river runs through a landscape of varied vegetation, which is painted in warm and mellow autumn colours. The vivid orange willow stumps in the foreground are repeated in many of Astrup’s pictures. Milling Weather is the first time Astrup made use of this motif. He would continue working with it in both woodcuts and paintings. 

In contrast to many of Astrup's rain motifs, Milling Weather is a brightly coloured picture. The rain itself is admittedly of secondary order: the clouds have passed, though they have filled the rivers with a powerful current for the mill. It has also left the air clear and fresh, so that the warm, sharp autumn colours stand out. The motif is dominated by red-brown, yellow-green and orange colour tones. The white rivers create an ornamental pattern that flattens the motif.

This is one of the landscape motifs that have no local reference to Jølster. 

The provenance from its creation up until WWII is unknown. It was not mentioned in Astrup's correspondence and was exhibited for the first time in 1987. 

This is the first version of the milling weather motif in Astrup's artistic production. In 1916 he repeated the motif in the painting Milling Weather (K125), and in the woodcut series Milling Weather (Greve 39) from 1917. In the newer versions the motif is  reversed, so that the man and the boy come in from the right. The format and the similarity in motif may suggest that Astrup has used the first version as a template for the woodcuts, but it is unclear how the motif was transferred to the key block for printing. Because of the artist’s interest in photography and developing glass plate negatives, the transference via enlargement or copying techniques is hypothetically possible.

A comparison with one of Astrup's photographs, which is an enlargement of the crown of a tree, may suggest that shoots from the tree trunk to the right was painted after a photographic template. In the photograph the top of the tree’s crown is missing – corresponding to the part that “grows out of “ the stumps in the painting. 

The painting has vertical crazing across the entire surface of the picture, which indicates that it had been rolled up after it was completed. 

1902-n.d.:

Nikolai Astrup

(1880-1928)

-1940-1969:

Jacob Fleischer d.e.

(1892-1969)

1969-1985-:

-1994-2005:

1987-5-23 - 1987-9-30

Nikolai Astrup 1880–1928

Åmot

55

1994 - 1994

Nikolai Astrup. Tradisjon og overskridelse

Stavanger

9

1994-9-17 - 1994-11-13

Nikolai Astrup. Tradisjon og overskridelse

Oslo

9

1995 - 1995

Nikolai Astrup. Tradisjon og overskridelse

Trondheim

9

1995 - 1995

Nikolai Astrup. Tradisjon og overskridelse

Lillehammer

9

1995-3-18 - 1995-5-7

Nikolai Astrup. Tradisjon og overskridelse

Bergen

9

1995-5-15 - 1995-9-15

Nikolai Astrup. Tradisjon og overskridelse

Jølster

9

2016-5-1 - 2016-5-5

Nikolai Astrup Painting Norway

London

63

2016-6-10 - 2016-9-11

Nikolai Astrup Norske Landskap

Oslo

65

2016-10-2 - 2017-1-22

Nikolai Astrup: Norwegen. Eine Entdeckung

Emden

65

2017-3-3 - 2020

Nikolai Astrup Ut av skyggen

Bergen

2021-6-19 - 2021-9-19

Nikolai Astrup: Visions of Norway

2021-10-15 - 2022-1-23

Nikolai Astrup. Rå natur

2022-2-19 - 2022-5-28

Nikolai Astrup. Visioner av norsk natur